The second in Wolf Trap Opera’s series of recitals by Filene Artists, Wayd and Aubrey Odle’s presentation at the end of June proved to be another delightful evening of singing, the repertoire this time including hefty chunks of opera and musical theatre in addition to art song.
Opening with “Oh, What a Beautiful Mornin’ ” from Oklahoma!, complete with excellent English diction and a special high note at the end, Wayd Odle introduced himself and his family, as the couple’s children were sitting in the audience. Taking the time to speak not just at the top of the program but also throughout won the audience over and let them in a little bit to the Odles’ personal world, appropriate for the intimate venue of The Barns. On top of that, I loved Wayd and Aubrey’s positive attitude, and from that and their vocalism could see why companies have been hiring this couple together and why we as an audience should love them.
The French selection for the evening was the duet “Il faut nous séparer” from Werther by Massenet. The dramatic vocal style of this piece made it a perfect fit for the couple, and I liked the staging the performers came up with. The characters of Werther and Charlotte feel natural for them, and they are clearly masters of stagecraft on top of their exquisite voices. Still, it was in the dramatic beats that this piece really shone for them.
Aubrey’s first solos were a set of two Brahms pieces: “Feldeinsamkeit” and “Von ewiger Liebe.” These showed off her low register and easy legato and let the audience experience the impressive size of her instrument.
Wayd’s first solo in German was Schubert’s iconic “Erlkönig.” Pianist Renate Rohlfing must be commended for her amazing playing here. She made this piece sound easy. Dramatically, Wayd brought good changes of focus to the piece, and vocally he brought a beautiful, very healthy legato line. I would have loved to hear him play with ugly sounds in some of this piece, and perhaps he could have taken more time before his last line at the end, but it was undeniably well-sung and a solid presentation.
Taking things down a notch with a piece no less iconic, Aubrey followed Wayd’s “Erlkönig” with “Send in the Clowns.” I found this piece to be magnetic, partly because it was not overly belted. I found myself with goosebumps and watering eyes listening to the bittersweet softness of this piece.
Wayd’s next solo in German was Strauss’s “Allerseelen.” This was absolutely beautiful. It could maybe have been one dynamic softer, but I liked the tempo. In a similarly tender vein, Aubrey followed this piece with two by Ralph Vaughan Williams: “Tired” and “Hands, Eyes, and Heart.” That allowed the audience a moment to take in the composer’s glorious writing and further appreciate Aubrey’s English diction. Finally for the English pieces, Wayd presented the classic “Silent Noon.” He spoke briefly about how this piece specifically makes him think of Aubrey, which again made me love the connection these two artists have and have made with the pieces they selected. Throughout this particular piece, I found myself wanting a softer dynamic, but I loved how Wayd took his time with the text.
Despite how wonderful everything else on the program was, it was the performance of “Tu qui, Santuzza?” from Cavalleria Rusticana that I loved best in both of these voices. Not only could I hear how they were born to sing this music, as they both have huge voices that are ideally suited to verismo, but it also felt visceral in a way that nothing else on the program matched. Mascagni’s music grabs you and won’t let go, and with Wayd and Aubrey’s committed vocals throughout, I felt so rapt with attention that I hardly could look at the translation. The staging and singing combined told the story so well that one hardly needed to. All in all, a fantastic performance and the highlight of the evening.
After that, the couple gave the audience an encore with the lovable duet “Til There Was You.” After the negativity of the scene from Cavalleria, this felt like the right way to end the program. Wolf Trap is lucky to have these two artists this season, and may we see more of them in other D.C.-area venues and companies again soon.
Maggie Ramsey
Wolf Trap Opera Salon Series
Richard Rodgers – “Oh, What a Beautiful Mornin’” (Oklahoma!); Jules Massenet – “Il faut nous séparer” (Werther); Johannes Brahms – “Feldeinsamkeit,” “Von ewiger Liebe”; Franz Schubert – “Erlkönig”; Stephen Sondheim – “Send in the Clowns” (A Little Night Music); Richard Strauss – “Allerseelen”; Ralph Vaughan Williams – “Tired,” “Hands, Eyes, and Heart” (Four Last Songs), “Silent Noon” (The House of Life); Pietro Mascagni – “Tu qui, Santuzza?” (Cavalleria Rusticana)
Aubrey Odle – Mezzo-soprano; Wayd Odle – Tenor; Renate Rohlfing – Piano
The Barns at Wolf Trap, Vienna, VA, June 22, 2026